Charles to his people, Henry to his wife,
In him the double tyrant wakes to life.
Justice and death have mixed their dust in vain,
Each royal vampire wakes to life again:
Ah, what can tombs avail? since these disgorge
The blood and dust of both to mould a George.”
The American Eagle
Benjamin Franklin, in a letter to his daughter, Mrs. Sarah Bache, written in the seventy-eighth year of his age, regrets, in a characteristic passage, that the bald eagle had been preferred to the turkey as the national emblem. “For my own part,” said he, “I wish the bald eagle had not been chosen as the representative of our country; he is a bird of bad moral character; he does not get his living honestly; you may have seen him perched on some dead tree where, too lazy to fish for himself, he watches the labor of the fishing-hawk; and when that diligent has at length taken a fish, and is bearing it to his nest for the support of his mate and young ones, the bald eagle pursues him, and takes it from him. With all this injustice he is never in good case, but, like those among men who live by sharping and robbing, he is generally poor and often very lousy. Besides, he is a rank coward; the little king bird, not bigger than a sparrow, attacks him boldly and drives him out of the district. He is, therefore, by no means a proper emblem for the brave and honest Order of the Cincinnati of America, who have driven all the King birds from our country; though exactly fit for that order of knights which the French call Chevaliers d’Industrie. I am, on this account, not displeased that the figure is not known as a bald eagle, but looks more like a turkey. For, in truth, the turkey is, in comparison, a much more respectable bird, and withal, a true original native of America. Eagles have been found in all countries, but the turkey was peculiar to ours. He is besides (though a little vain and silly, ’tis true, but none the worse for that) a bird of courage, and would not hesitate to attack a grenadier of the British guards, who should presume to invade his farm-yard with a red coat on.”
The Drama as an Instrumentality
The political satirical drama founded by Aristophanes was copied in England in the seventeenth and eighteenth centuries. The Greek comic poet introduced real characters on the stage for the purpose of satirizing them. His freedom and boldness in depicting corrupt men and corrupt measures were prominently shown in his caricature of the coarse and noisy Cleon, when that Athenian leader was at the height of his power and insolence. In a similar way the first Earl of Shaftesbury was assailed by Dryden in an opera entitled “Albion and Albanis.” “The subject of this piece,” as Baker says, in his “Biographica Dramatica,” “is wholly allegorical, being intended to expose Lord Shaftesbury and his adherents.” But there is a more violent and virulent satire upon the same individual in Otway’s play of “Venice Preserved.” In reference to the former, Baker quotes Dr. Johnson as truly describing those portions of the play, now never represented, and in which the leading character was Antonio, as “despicable scenes of vile comedy.” All the vices assigned to Antonio were intended to depict Anthony, Earl of Shaftesbury; and it was on account of these very scenes that the play was a favorite with Charles II. Both political parties, at that period of English history, were merciless in their treatment of each other, and made use of the forms of a drama to gratify their detestation of their adversaries.